Bathers, Signed (23 results)

Condition: Very Good. 2015. 12th Printing. Unpaginated. Signed by the author. Green paperback book with pictorial cover. Title page has been signed by the Author and dedicated. Pages are clean and bright, and appear almost good as new. With minimal tanning throughout. Binding has remained firm. Paper covers are clean and bright, and appear almost good as new. With minimal rub wear and creasing.

First Edition. Near fine side-stapled copy in printed wrappers, now faintly creased and dust-dulled. Internally clean with margins gently age-toned. Remains well-preserved overall. Notes; Signed and inscribed by the author. Physical description; 586-596 pages : illustrations ; 31 cm. Notes; Excerpt from: The Burlington Magazine, vol. 134, no. 1074 (September 1992). Special issue: Post-Impressionist Art. Subjects; Cézanne, Paul. Bathers. Painting, French. Post-Impressionism. 19th century. 20th century. Illustrated. 3 Kg.

Soft cover. Condition: Very Good. Signed edition. Very good condition paperback, apart from author's signature no inscriptions, clean text, sound binding, 21cm x 26cm x 1.5cm, 224pp, $25. Signed by Author(s).

Softcover. Condition: Very Good. First Edition; First Printing. Signed by Lazo to poet Tony Moffeit, "To Tony/Bluesman of the mountains and plains/Thanks for all the encouragement/Bill/May '97." Southwest stories from the editor of Rocky Mountain Arsenal of the Arts.; 175 pages; Signed by Author.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. Lockhart, Adrian (illustrator). 1st Edition. Signed to half title by Victoria Alexander, 1st Ed., Oversized hardcover bright blue cloth bds, Nr Fine, clipped dust jacket, Nr Fine, slight scuffing to spine tips, contents fine and tight, combination of lovely colour drawings and bright photographs, neat inscript. to ffep, pp122. Signed by Author(s).

First Edition. Near fine side-stapled copy in printed wrappers, now faintly creased and dust-dulled. Internally clean with margins gently age-toned. Remains well-preserved overall. Notes; Signed and inscribed by the author. Physical description; 586-596 pages : illustrations ; 31 cm. Notes; Excerpt from: The Burlington Magazine, vol. 134, no. 1074 (September 1992). Special issue: Post-Impressionist Art. Subjects; Cézanne, Paul. Bathers. Painting, French. Post-Impressionism. 19th century. 20th century. Illustrated. 1 Kg.

Soft cover. Condition: Good. The blue boards are very lightly rubbed with some mild bumping to the corners, with clear lettering to the spine. The binding is firm. The pages are clean with clear recipes and bright pictures. Signed and dedication by author to title page. This book has 223 pages. All in all a nice example of this cookbook. Signed by Author(s).

Cloth. Condition: Good. Dust Jacket Condition: Fair. First Edition. Inscribed and signed by author to Leonard Clark, dated 9 November 1970, on title page. Clark's bookplate pasted to front pastedown. Some soiling and bumps to covers. Minor wear to dustjacket. Signed by Author(s).

First edition with a 1 present in the number line; Signed by Victoria Alexander and Genevieve Harris on half-title page; small 4to.; cloth covered boards, hardcover; xiii, 122 pages; color illustrations; very good in an edgeworn dust jacket.

Soft cover. Condition: Very good. No jacket. Signed by Thomas across from title page. Bottom edge of front cover is very lightly sunned. Inside cover edges are lightly tanned, not visible on outside of book. Binding is tight and inside is clean and unmarked.

Soft cover. Condition: Very Good. Signed edition. Very good condition paperback, apart from author's signature no inscriptions, clean text, sound binding, 21cm x 26cm x 2cm, 320pp, $20. Signed by Author(s).

Hardcover. Condition: New. No Jacket. 1st Edition. Bathers' explores the social theater of communal bathing, a ritual that is both private and public. Ruth Kaplans journey began in the nudist hot springs of California in 1991. By participating in the baths, Kaplan gradually became accepted, and was able to make photographs of her fellow bathers, occupying the dual role of voyeur and participant. From California she then traveled to Eastern Europe, seeking a more traditional form of the practice in the spa towns of the Czech Republic, Slovakia, Poland, Hungary, and Romania. The unique display of individual body types and ages became a component of the work, as did the decaying architecture of the interiors. She then traveled to higher-tech spas in Germany, France, Italy, and Denmark, completing the series in 2002 in Moroccan hamams and Icelandic hot springs. Hedonism, decadence, sensuality, innocence, and social bonding were some of the underlying themes that emerged, but what drew Kaplan to the baths was the powerful physicality, the way in which people manifested themselves through their bodies, and the psychological presence they evoked. The waters became a backdrop to this exploration. With the migration from analog to digital that took hold during the 1990s, and escalating concerns surrounding individual privacy, these photographs have come to stand as a unique document of a subject difficult to photograph at the best of times, but nearly impossible to achieve currently without staging them. Along with the bizarre juxtapositions of body and place that sometimes occurred, these images reveal and celebrate the experience of immersion into waterphysicality and transcendence. Signed by Author(s).

Dust Jacket Condition: dj. First Edition. First edition and first printing. Oblong hardcover. Edited by Alexa Dilworth and Iris Tillman Hill. Features a foreword by Mary Ellen Mark. A collection of 50 duotone images of woman bathers in Budapest and Istanbul. A clean near fine copy in cloth boards in a near fine dust jacket with some minor wear. Signed and warmly inscribed by Williams to a New York City photography gallerist. Uncommon signed. Signed.

Condition: Good. Etching. 24.2 x 32 cm. (sheet). Signed in pencil and annotated 'AP'. Very Good, sheet skinned at upper and lower right sheet corners.

Condition: Good. SIGNED by the photographer; Orig. spiral binding w. blindst. wr. and dustwr., sm. folio.

Hardcover. Condition: Fine. A fine, rich impression and a very fine example, with ample margins and only some marginal blemishes. This is a reversed copy of an engraving by Agostino Veneziano (1490-1540), published in 1523, of five figures from Michelangelo's cartoon for the Battle of Cascina, a grouping sometimes referred to as "the bathers". The drummers seen in the distance, which Vasari tells us appeared in Michelangelo's original cartoon, show that Veneziano was either familiar with Michelangelo's original -now lost- or with early copies made from it. "The cartoon created by Michelangelo between 1504 and 1505 for the fresco that, together with Leonardo's Battle of Anghiari, was supposed to decorate the Hall of the Great Council (Salone dei Cinquecento) in the Palazzo della Signoria (Palazzo Vecchio) in Florence, was dismembered and dispersed within a decade of its completion. "Prepared and drawn in the great hall of the Hospital of Sant'Onofrio, the cartoon was displayed for some time in the Palazzo della Signoria, in what was to have been its final location, and from there it was first taken to the Sala del Papa at Santa Maria Novella, thenbefore 1515to the family palace on Via Larga, 'in the great hall above' (Vasari, Michelangelo, ed. 1962, ii, p. 261). Several artists were able to access it during this period and, even after its dismemberment, to copy it. "The most complete visual record of the lost composition is the grisaille by Bastiano (called Aristotile) da Sangallo, preserved in Norfolk and identifiable as the "chiaroscuro oil painting" painted by Bastiano in 1542 "at the persuasion of Giorgio Vasari, his close friend."(Vasari, ed. 1966-1987, v, 1984, p. 393). "The cartoon's popularity through prints, however, is limited to single figures or groups of figures and can be traced, as far as signed or clearly attributed works are concerned, to the work of two engravers: Marcantonio Raimondi for the foreground of the leftmost part of the composition (a group often referred to as the "climbers", and Agostino Veneziano for the standing soldier dressing and the righthand part of the composition (the group referred to as the "bathers"). "It is now widely believed that Raimondi personally examined the original during his journey from Bologna to Rome in early 1509 The circumstances under which Agostino Veneziano learned about Michelangelo's model are still unclear. His first engraving with a subject from the Battle of Cascina is from 1517, shortly after his arrival in Rome in 1516 (Minonzio, 1990). It is possible, as Konrad Oberhuber suggested (in Raffaello in Vaticano, 1984, p. 333), that a complete drawing of all the bathers by Raimondi was available in his workshop, where Agostino worked, but it is more likely that he encountered the work during his Florentine period (1515-1516), when Veneziano engraved for Andrea del Sarto and Bandinelli, the latter of whom, according to Vasari, 'having a forged key' had regular access to Michelangelo's original cartoon "This successful print is the subject of a curious critical history. As highlighted in the bibliography section (below), it has been sometimes treated as the work of Michele Lucchese, at times as the work of an anonymous artist close to Agostino Veneziano, whose monogram was added (as has been laboriously reconstructed after examining many examples) only towards the end of the sixteenth century, after the edition published by Pietro de' Nobili "The first state, as often with the works of Michele Lucchese (ALBERTI, 2014-2015), has no inscriptions; the second state [the one offered here] refers to Michelangelo as inventor and has Michele Lucchese's privilege (".M.L. cum privilegio"); the third state shows that the plate passed to the publisher Pietro de' Nobili in the 1580s. Subsequently, the Lucchese mark and de' Nobili's address were erased, and Veneziano's false date and monogram were added. A large number of the copies found belong to the late eighteenth-century edition edited by Carlo Losi, who engraved his name on the matrix in 1773 (and whose sales catalog still lists it in 1790, Index, 1790, p. 8, no. 7), but which, very curiously, has been systematically erased from the paper on the prints. Subsequently, all trace of the plate was lost: It is not difficult to imagine that, given the obscene subject matter, it may have been among the coppers sent to be melted down in the Tivoli copperworks by order of Leo XII, Pope from 1823 to 1829 (we have not conducted any archival research in this regard)."(Alberti, Rovetta, and Salsi, "D'après Michelangelo"(2015), p. 22 ff., and catalogue number 12.). SECOND STATE (of 5). With "Michaelan/gelus. Buona/rotus. Inuentor" on the plaque at center and ".M.L./cum priuile-/gio." on the slab at lower right.

John Buckland Wright (illustrator). Etching with aquatint, 1953, on Whatman paper, signed, titled, dated and numbered 9/30, with wide margins, 285 x 410mm unframed. Dimensions - overall approximately 16 tall by 11 ĵ wide inches (28.5 by 41cm) with the image 11 by 6 inches (27.5 by 15cm). Artist or Maker: John Buckland Wright John Buckland Wright (3 December 1897 - 27 September 1954) was a British printmaker, painter and draughtsman. He worked principally as an etcher and engraver, and was self-taught. Buckland Wright studied history at Oxford and then architecture in London. He soon realised that he wanted to be an artist more than an architect and by 1921 he was living in Belgium and was elected a member of the Gravure Originale Belge in 1925. He was also a member of Xylographes Belges, SWE and LG. During the 1930s, Buckland Wright lived and worked in Paris and frequently visited S W Hayter's Atelier 17. He had one-man shows in London and throughout the continent, sometimes signing his work J B W. His work is held by the Victoria and Albert Museum, the British Museum, the National Gallery of Art, the Museum of Modern Art, and many galleries and museums in Europe and America. His work was also part of the painting event in the art competition at the1948 Summer Olympics.

Condition: Near fine. Image: 8 7/8 x 11 7/8". Paper: 11 1/4 x 16 1/2. Original etching and drypoint. Signed in pencil. Limited edition. (N.A. but 250) Signed by Costigan. Rich, clear image. Hinged at top corners. A native of Providence, Rhode Island, John Costigan was a skilled landscape and figure painter who disdained portraits because "the subjects want flattering pictures." "Mainly self-taught, Costigan studied briefly at the Art Students League and worked as a lithographer of theater posters. From that job he learned the printing processes that he later used in his many etchings. He began making his name in the fine arts in 1920, and throughout the decade, reaped numerous important prizes for his oils, watercolors and prints."-askart.

None. Condition: Fine. Dust Jacket Condition: None. de LATENAY, Gaston (Toulouse1859 â" Paris 1943) (illustrator). Watercolor with colored pencil and pen and ink drawing. 9 1/8 x 10 1/2. Signed by Gaston de Latenay lower right. Framed.

Framing: Unframed This is an original photo which measure approximately 3 1/4 x 4 1/8 inches in very good condition with photo paper remnants and light creasing on corners as pictured also an indiscreet minor crease in umbrella. Thanks for looking at this very rare photo. On Jun-12-11 at 15:55:25 PDT, seller added the following information: Sellers: Delight buyers. Get your own map of past buyers. Region of Origin: US Size Type: Small (Up to 7'') Color: Black & White Photo Type: Snapshot.

Original etching signed by the artist, edition 2 of 25, printed June 2018. 190 x 150 mm.

Copper engraving with aquatint. No. 13 of only 16 prints pulled from the plate, although there was a projected edition of 30. Titled, numbered, signed and dated by the artist. 278 x 150 mms. 1953.

Kaus, Max (illustrator). Kaus, Max. BADENDE MANNER: (THREE MALE BATHERS AT THE SHORE). Lithograph, c. 1924. Signed, lower left, in pencil, and numbered 6-10, further inscribed, lower center, in ink, illegibly, and dated or otherwise numbered "9/24" in pencil at the top left. 25 1/4 x 19 inches, 645 x 480 mm. In excellent condition, and handsomely framed.